A Gentleman's Guide to Love and Murder, Walter Kerr, New York, Tuesday August 4th 2014

A Gentleman's Guide to Love and Murder, Walter Kerr, New York, Tuesday August 4th 2014

We were very fortunate to see "A Gentleman's Guide to Love and Murder" at the Walter Kerr Theater.  This Tony Award winning musical was performed with some replacement swings or understudies.  They delivered and gave a great performance.  A wonderful piece of musical theatre that pays homage to so many aspects of theatre.

"A Gentleman's Guide to Love and Murder" has a book and lyrics by Robert L. Freedman.  Music and lyrics are by Steven Lutvak.  They have based their hilarious work on a novel by Roy Horniman.
 

We saw a cast of eleven fine actors play the roles. The following role changes are confirmed from the Playbill cast list inserts:

The D'Ysquith Family was played by Greg Jackson.

Phoebe D'Ysquith was played by Catherine Walker.

Miss Barley was played by Pamela Bob.

Kathy Voytko was welcomed as a new swing member.

The premise of "A Gentleman's Guide to Love and Murder" takes a while to set up and then picks up pace as in a typical farcical situation.  The payoff from the set-up will be reaped by the whole audience if we allow ourselves to be immersed into the story.  Overall a great night at the theatre.

The direction by Darko Trenesnjak is brilliant as he has captured so much from many genres of musical theatre, Gilbert and Sullivan, pantomime, film, television and pays tribute in a coincidental way to many shows.  He has a wonderfully fresh approach that emphasises the comedy.


Darko has worked closely and seamlessly with the choreographer Peggy Hickey to realistically recreate a period of time.  The staging of every scene was slick and painstakingly well structured for the audience to follow the flow with no jarring diversions of our attention.  Both Darko and Peggy had us eating out of the palm of their hands guiding our attention and also surprising us with a cheeky grin.  

The musical, "A Gentleman's Guide to Love and Murder"  honours and respects the tradition of musical theatre history.  I love when I can see parallels with other shows or shows that would complement your experience. This musical  also pays homage to the following shows:

"A Gentleman's Guide to Love and Murder" is a great companion piece to "Catch Me If You Can" as Monty would change his name and relationship as he would progress through the story.  He was quite liar and a conman and had to contend with dealing with his fate at the end.

"Murder For Two" is a murder mystery and we too are trying to solve who murdered one of the characters.

"Newsies" moment with the announcements by the newsboys hanging off the side of the set.

"Blood Brothers" and "Death Takes a Holiday" staging with the funeral scene. Also "Nine" with the all black funereal costumes.

This show is a tribute to the Music Hall and vaudeville theatre with the Victorian box staging and the set and lighting design.

There are tributes to various television shows with the use of the hand-like "Thing" character from  of "The Adams Family." 

There is a small musical phrase that I feel give credit to "Jekyll and Hyde."  Both are similar period pieces so this is not uncommon to have such a feel to the music.

During the scene with the detective and the court case where eight witnesses giving evidence reminded me of "The Secret Garden" musically.  I loved the simple staging with the choral singing with the cast facing upstage and each individual witness giving evidence by turning to the audience.  So simple and so effective.  No pyro techniques - just pure skill of the actors and simple staging.

The reason why I highlight these is that nothing is new in theatre and it is lovely to create memories with comparisons to consolidate my memory of a show.  It is those visually instantly recognisable connections that make it funnier and creates dual comedic moments. (It may be new for a new generation of theatre goers.)


Characters from literature include parallels to Uriah Heep from Charles Dickens "David Copperfield" and the talking paintings and sculptures are a tribute to J. K. Rowling's "Harry Potter" and Oscar Wild's "The Picture of Dorian Gray".
 

Various characters get killed off in the course of the show.  The various characters die in different ways.


We sat up in the A Row in the Balcony on purpose to experience and recreate the era of being in an old Victorian Theatre. Mind you there are only two rows in the Balcony.   We were correct in selecting  these seats as it added atmosphere to watching a Victorian show.  It was delightful sitting in the "nose bleed" or "Gods' or the "Heavens" as the musical carried so well in our direction!

Though two people left before the show started as they were not happy with their seats in Row B in the Balcony.
 
It is good to be able to see shows from different seats to see if they work. Our view was not too badly restricted as we only had to lean forward for when characters were downstage front and centre on the walkway. This show works but would work for both Balcony Rows better if the downstage action was moved back upstage one step. Also if the top of the main set was raised about 2 feet this would allow an less impeded view of the set and we could enjoy the full impact of the multi media displays. (Not that we missed much of the multi media displays.) Plus they could charge full price accordingly.

In fact I would totally recommend sitting up in the Balcony for the atmosphere of looking down upon the action.

Scenic Design is by Alexander Dodge and it is superb as it is a balanced set that embraces the Victorian era with a stage within a stage. I loved the clever use of every aspect of the set with the easily accessible wings on the smaller stage, the beautiful rich red curtain, the simple ladders on each side of the proscenium arch, the walkway (reminiscent of "Gypsy" and the burlesque era, the use of trucks for the sets, the lift up bar and the drop down barmaid, the snow and trees on the hills, the gymnasium etc. I also adored how the stage would extend and bring the characters closer to the audience and develop depth to the stage.


Such a simple design and a real tribute to the Victorian Theatres that children could make.  In fact I loved it as it brought back so many memories of the 1960s when I used to make a stage from cardboard box, using coloured cellophane for the lighting effects and using the toys from cereal packet toys as the characters.


The staging in conjunction with the visual projections by Aaron Rhyne created a sensationally funny sense of space, time and motion.  The angles used added to the depth of the perspective which heightened the humour of the falling scene.  Then the red blood spilling made another joke to heighten our pleasure of this scene.


I also loved what I could see of the visuals for Egypt, India and Africa as well.  Not being able to see the whole effect did not spoil the experience.  It added to the fun of the history of theatre for me.

"A Gentleman's Guide to Love and Murder"  is brilliantly directed by Darko Trenesnjak as he has captured so much from many genres of musical theatre, Gilbert and Sullivan, pantomime, and pays tribute in a coincidental way to the following shows: particularly when climbing the tower. 

It was so stylish and also so effective.  My following comments about the set design are not a criticism but an observation:


It is interesting that two of the scenes would work much better for the Balcony if they raised the back part of the set in the skating moment as we could see what was happening behind.  It would enhance the comedy  it if we could not see the actors as they fell etc.  So many shows are directed with many views in mind but some show do not work well in the upper balconies.  I do not think that "The Phantom of the Opera" works as well as this show from the Balcony as it is unbalanced and destroys some magical moments.


Given that it is a fun show and it is also sending itself up the head roll joke works better in the Orchestra Stalls than it does in the Balcony.

The opening with the chorus reminded me of the Greek chorus from "Sweeney Todd" or "Love Never Dies" (in Melbourne - where they were lowered from the flies.)

Quick and simple set changes that paid homage to the old Broadway musicals with short scenes in the front tabs while scene changes occurred behind.  Classical and slick.

The music is such a theatrical classical structured work. There is the opening tension building and scene setting "A Warning To The Audience" that both acts as a prologue and establishes the contractual rules with the audience.  It also pays homage to "There You Are" from "The Mystery Of Edwin Drood" which also sets the mood, context and scene for the audience so effectively.

Monty was played with exceptional charismatic charm and cheeky conman appeal by the Bryce Pinkham.  He sang with clarity and his diction was clear.

"Lady Hyacinth Abroad" covered the three trips to Egypt, India and then Africa was a real tribute to the old vaudeville gags or The Three Stooges.  Such classic "three times and your out" jokes.  Love them!  Clever wig and costume design by Charles La Pointe.  As the cast returned from each journey, their body language showed their immediate atmospheric responses to their travels.  It would have been good to see one grasping their stomach when returning from India.

Four people created the shape of the love triangle of Monty with both and Sibella, Phoebe.  I cannot remember if it was Chauncey or Lord Adalbert (wearing a red jacket and top hat) who was in the corner of the triangle as if he were a chaperone. I was laughing too much and enjoying Monty's situation. This three -way love joke was continued at the end with the bum grabbing by both Sibella and Phoebe.

I loved the "bee scene' and we as an audience knew what was going to happen.  This predictability added to the humour.  It was not about if but when we were to be feasted with another great gag.  Visually simple with projections that added to the humour.  The costume design by Linda Cho was sensationally respectful to the period, but it is the Bee-hat that I adored.  So simple and it would be fun to wear at The Melbourne Cup!

The design of the bar scene was very simple and clever where the bar raised from the stage with the barmaid dropping into a lift to create a bar room perspective.

Some of the men were flat in some of the ensemble singing.  This did not bother me as in some Broadway shows you expect perfect pitch.  Here I thought it was in keeping with the era and I was more forgiving.

Some of the diction of the dialogue was a little muffled at times as some of the words were swallowed.  Poor diction is not forgivable.

Act Two opens with the funeral scene "Why are all the D'Squiths Dying" that reminded me of the funeral scenes from "Blood Brothers", "Death Takes a Holiday" and "Nine".  Note it is a statement and not a question in the title of the song!   There is a respectful distance when attending funerals to allow those having a more direct relationship to the deceased to be closer to the grave site.  The staging filled the stage with texture.

I loved the trio "I've Decided to Marry You" with Monty, Sibella and Phoebe as it is classic farce with the use of the split set and the use of doors.  Very clever staging and great timing. Sibella played by Lisa O'Hare had a pure voice.  The trio sang with beautiful harmonies and so sincerely which made the scene funnier.

There is a patter song that adds a bright spring to the show and pays homage to Gilbert and Sullivan.

The dinner scene reminded me of the awkward dinner scene from "La Cage Aux Folles".  It was fun with the silver plates and the shifting dynamics in the scene.  I loved capturing the moment by the Miss Shingle and her innocent look into the audience.

 "Looking Down the Barrel of a Gun" had Greg Jackson playing Lord Adalbert with gusto and vigour.  He also played Lord Adalbert with Boer war post-traumatic-stress-syndrome spirit.  His demise is imminent and we are waiting to see how this will be achieved.  Great fun and I loved the spitting of food that reminded me of Steven Berkoff's play "East" which played at The Princess Theatre in Melbourne in the late 1970s. (The night I went "The Sullivans" cast walked out at his improvisation.)

"Stop! Wait! What?!" allows Monty to reflect and give us time to take stock of the situation before the finale.  Bryce Pinkham allows us to connect with his predicament and empathise with him.

I loved the jokes about "Riff Raff" and May 11th is an in joke with my partner.  The clever writing will allow every audience member to connect with something personal and memorable for them.

I loved the philosophical line about the being wealthy - "Got none of her troubles."

The "Beyond Reasonable Doubt" moment to me was classic court room postures and also I felt an in joke to the famous play of the same name.

 

The Walter Kerr Theater is the perfect size theatre for "A Gentleman's Guide to Love and Murder" as it allows an intimate connection to the characters, and allows us to feel a part of the action.  This musical would be a perfect vehicle for the Melbourne Theatre Company at either The Playhouse, Comedy Theatre or I would love to see it in The Athenaeum in Melbourne.  If it is not picked up professionally it will be snapped up by regional or amateur companies when the rights become available.

I totally recommend "A Gentleman's Guide to Love and Murder." The premise of the show takes a while to set up and then picks up pace. Overall a great night at the theatre.  I could easily it again as there are so many fine nuances to the story and the direction.  It is one of those shows that will be remembered for many years to come for its individuality.